by Jim Korkis
Stitch has even invaded Mickey’s Star Traders just down the block. A huge mural with seven hidden Mickeys encircles the ceiling. It details the escape from the city of a screaming Stitch as well as Jumba and Pleakley’s ship in hot pursuit, besides some other surprises.
The Merchant of Venus and Mickey’s Star Traders theme into the concept that any community, even one in the future, would need a variety of businesses and services like shops and dining options for residents and visitors.
Magic Kingdom
Hall of Talking Presidents
With the recent election of a new U.S. president, a figure of him will be installed in the Hall of Presidents. Beginning in 1993, the actual presidents recorded their presentations at the White House under the supervision of WDW Imagineers.
BILL CLINTON: My fellow citizens, we are the heirs of the great American Revolution. As this millennium draws to a close and the 21st century approaches, let us pause to honor the very idea of America. America mirrors the world’s diversity, yet it remains united in the struggle to uphold fundamental freedoms. We believe our nation’s happiness still evolves from liberty, from opportunity, and from the vision of equality set forth by our country’s Declaration of Independence. And today our nation stands as a symbol of freedom and inspiration to people all over the world.
There is nothing wrong with America that cannot be cured by what is right with America. And there is nothing wrong with the world that cannot be cured by the ideals that America represents. Those principles have no borders, and we look forward to a day when those principles, extended beyond our borders, will have circled the globe. The quest for democracy must continue until all of the people of the world enjoy the freedom we must always fight to preserve. The spirit of America is as bright and hopeful today as it was in July of 1776. And we are ready to carry our great national experiment forward into the next millennium.
GEORGE W. BUSH: My fellow Americans, when we look back on the history of this country, we see a record of almost unbelievable energy, sacrifice, hard work; of impossible dreams that our ancestors dreamed and made real. We see injustice, too, that weighs on our hearts even today. But for every injustice there has always been a voice crying out to right it. And America has always listened to those voices. We are listening today. And perhaps it falls to us, to this first generation of 21st century Americans, to say, once and for all, that no child, no race, no creed, no ethnic community will ever again be left out of the American dream.
Through education, through the opportunity to work and to enjoy the fruits of that work, we can open every closed door, expand the horizons of all Americans. Again and again, we return to the same simple principles: freedom, equality. The freedom to create, to prosper, to dream. Equality before the law, in the workplace, and a chance for a better life. And each time, in the process, America grows stronger. The beacon of democracy grows brighter. The world looks with new astonishment at what free people can do. We the people are just getting started.
BARACK OBAMA: The American dream is as old as our founding, but as timeless as our hopes. It is reborn every day in the heart of every child who wakes up in a land of limitless possibilities, in a country where “we, the people” means all the people. We may come from different places and believe different things, but what makes us American is a shared spirit; a spirit of courage and determination; of kindness and generosity. It is a spirit grounded in the wisdom of the generations that have gone before us, but open to the unimagined discoveries and possibilities on the horizon that lies ahead. Let us enjoy it, cherish it, defend it, and pass it on to our children as the bright and beautiful blessing it is: this enduring American dream.
Magic Kingdom
Cinderella Castle Mural
Five exquisite, richly hued glass mosaic murals adorn the interior breezeway of Cinderella Castle in Gothic archways fifteen feet high and ten feet wide.
The murals were designed by Disney artist Dorothea Redmond at WED Enterprises in California to tell the highlights of the story of Cinderella from the classic 1950 Disney animated feature film.
The transformation into a physical reality was the task of world-famed mosaicist Hanns-Joachim Scharff and his wife along with his daughter-in-law Monika. Scharff studied art history at the University of Leipzig and was inspired and drawn to mosaics as a youth during a visit to Italy. He was also an interrogator for the Nazis during World War II.
In 1966, for New Orleans Square in Disneyland, Scharff did thirty table tops in the Creole Cafe, the mosaic thresholds for the French Market, and work on two of the quaint specialty shops. The threshold designs were based on original art work from mid-19th century New Orleans.
Later, he and his daughter-in-law would do the mosaic entrance outside The Land pavilion at Epcot.
For the Cinderella murals, Scharff had Redmond’s drawings enlarged to full scale, divided into sections, and then covered with fabric netting. With the help of his family, Scharff hand cut and shaped each piece of glass.
Hundreds of thousands of pieces of glass, both the smooth-faced Venetian glass and the rough-surfaced pieces broken from the Smalti (the Italian word for “glass cake”) traditionally used by Italian craftsmen were used. It eventually totaled over a million individual pieces and more than five hundred different colors.
Some pieces were as small as the head of a tack. Those that were hand cut were shaped with a power grindstone to get the perfect fit. Bits of gold, silver, and numerous “jewels” were also incorporated.
Using the patterns visible beneath the netting, the mosaic pieces were carefully glued by hand, one-by-one, face down onto the fabric which would later be easily removed once the panels were put in place.
Each section was transported to Florida and a crew of six craftsmen pressed the tiles firmly into the wet cement that had been applied to the walls. After the cement had dried and the fabric netting was removed, a coating of mortar was applied and worked into the gaps between the tiles to guarantee the artwork would not only stay in place but endure the constant touching of millions of guests.
From initial design to installation, it took over eighteen months.
There are five murals, starting at the entrance. The first mural shows Lady Tremaine reading the invitation to the upcoming ball to her spoiled daughters Drizella and Anastasia. Poor Cinderella is sweeping the floor.
The main section of the second mural is above the doorway, but a narrow portion of the mural also trails down on either side. The scene depicts the Fairy Godmother magically creating a beautiful gown on Cinderella while the famous carriage is off to the right.
The third mural has Cinderella dashing away from the ball up a flight of stairs and leaving a glass slipper behind with her prince in pursuit.
The fourth mural is the scene where a seated Cinderella tries on the slipper. Standing behind her, Anatasia’s face is red with rage and Drizella’s face is green with envy. The footman with the slipper has the face of Herb Ryman, the Imagineer who designed the castle, and the other royal courtier who is standing has the face of Imagineer John Hench.
The final mural shows Prince Charming carrying Cinderella on his white horse to live happily ever after.
Magic Kingdom
Seven Dwarfs Mine Train
The Seven Dwarfs Mine Train opened at the Magic Kingdom on May 28, 2014, as the centerpiece of the New Fantasyland expansion. It is a steel roller coaster designed to resemble handmade wooden mine carts that sway and tip back and forth as they wind their way through the landscape of the world of Snow White at up to 30mph.
The innovative, patented ride system was designed by Disney Imagineering and manufactured by Vekoma to replace Snow White’s Scary Adventures dark ride that closed on May 31, 2012.
Unlike that attraction, this version tells the story through the perspective of the dwarfs with Snow White only making a short cameo experience in the cottage at the end of the attraction. Outside the cottage, the old hag Wicked Witch peers menancingly through a window watch
ing Snow White and the dwarfs happily dancing inside.
It was designed as a family-friendly experience with tame 31-foot and 41-foot drops, no upside-down turns, and the elimination of the familiar clacking sound that usually signals an upcoming massive drop during its span of roughly 2,000 linear feet of track.
The rustic-looking ride vehicles are mounted in cradle-like pivots and sway independently as they swing around the track with each twist and turn. During its journey, the cars rock to the left and right, but the G-forces go right down through the seat making it a smooth ride.
The journey winds its way through the countryside and then into the mine where the dwarfs are working and singing. The fabricated rocks were put together in six-foot pieces that precisely correspond to the film.
The dwarfs are a new generation of audio-animatronics figures. The faces contain an internal rear projection system that enables Disney to better replicate the faces and expressions more realistically.
The jewels seen throughout the mine come in four different sizes and six different colors: red, green, amber, purple, blue, and clear.
Next to Doc’s workstation is a carved wooden clock with the figures of two miners striking an anvil that’s an exact replica of the one seen in the film and also signals the start of the song “Heigh-Ho.”
The shadows of the dwarfs marching homeward were painstakingly rotoscoped (traced from the original film footage frame-by-frame) from the movie.
At the top of the second lift, guests can clearly see Maurice’s Cottage and Beast’s Castle. Then, as the track drops, the mine cart passes under a trestle and loops around the mountain crossing. At the foot of the mountain, the train goes back to cross a pool at the bottom of a waterfall.
The ride ends at the famous cottage in the woods. The cottage’s exterior is a meticulously detailed representation from the actual film, right down to the wisteria vine and the birdhouse at the front door.
The film was carefully studied to get just the right color combinations for the roof shingles, the slope of the roof’s eaves, the shape of the lanterns, and the etched woodland creatures that decorate the house’s architecture. The walkway features impressions left by forest creatures, acorns, and sticks.
Scattered throughout the attraction are at least 450 props, including picks, shovels, barrels, and hoists. There are even places where the dwarfs have carved their names into the wood.
The figures of Grumpy, Doc, Bashful, Sleepy, and Happy, seen in the cottage near the end of the attraction, originally appeared in Snow White’s Scary Adventures. The two vultures perched on the jib crane near the mine entrance originally appeared in that attraction as well.
Magic Kingdom
Sir Mickey’s
When Disneyland Paris opened in April 1992, one of the merchandise shops in Fantasyland was Sir Mickey’s Boutique. The Imagineers created a delightful mash-up of two of Mickey Mouse’s most popular animated shorts to create the medieval-themed location.
The Brave Little Tailor (1938) was an adaptation of the classic fairy tale with Mickey Mouse in the role of the peasant tailor who is mistaken to be a killer of giants. Mickey and the Beanstalk (1947) was a twist on the famous story of Jack and the Beanstalk with Mickey Mouse, Donald Duck, and Goofy climbing a magical beanstalk to confront the giant who has stolen the magical singing harp that brought happiness to Happy Valley.
The end of the cartoon has Willie the Giant, who has fallen off the beanstalk, visiting the narrator’s house and pulling off the top off the roof to peer in and ask where Mickey Mouse is.
This clever idea for a merchandise shop was adapted for Walt Disney World’s Fantasyland.
Prior to being Sir Mickey’s, the location had actually been two separate shops that had opened in 1971. One was a merchandise shop called The AristoCats; the other shop was Merlin’s Magic Shop selling magic tricks and novelties. In 1986, this shop was converted into Mickey’s Christmas Carol Store.
In 1996, the two shops were rehabbed and merged together as one shop called Sir Mickey’s, featuring wonderful little touches that referenced both of Mickey’s medieval tales. What makes this shop special isn’t the merchandise but the design and theme of the store itself.
The shop has one of the most beautiful façades, blending in perfectly with the fantasy medieval courtyard, with its turrets, stone-like brick construction, and the ancient-looking glass in the windows.
However, the most prominent feature is the ever-growing beanstalk as it twists and turns inside and outside the cottage pushing itself skyward. The monster vine has even ripped the Sir Mickey’s sign off the front of the building and is starting to carry it along.
The southern wing is the armory where knights are suited for battle. Heavy beams and candle-filled iron chandeliers dominate the room. Scattered about are a selection of shields, armor, and weaponry awaiting use to battle the giant. The low ceilings make the large space feel more intimate.
This area flows into the northern section where the exterior signage and window displays pay more homage to the tale of Mickey as a tailor. Even the image of Mickey leaning on large shears is inspired from publicity art for the short cartoon. His eyes are the famous pie-eyes from when the cartoon was made.
One display window depicts Mickey’s workshop with sewing table, shears, fabrics, and threads, along with a clever hand-lettered sign proclaiming “Out Giant Hunting. Back Soon!” There are even sketches of garments he has made or plans to make.
Interestingly, this shop used to provide custom embroidery on items like Mickey ears, a service quite in keeping with the theme of a tailor shop. The clocks have hands that are the blades from a pair of scissors. However, there are also elements from the beanstalk cartoon including a framed picture of Happy Valley and a set of keys that were instrumental in the rescue of the harp.
The windows feature three-dimensional figures of the Disney characters all attired in medieval clothing, from Princess Minnie to Donald Duck as a bold knight in armor.
Inside the shop, Mickey, holding a lantern, is standing on a bend of the beanstalk while Willie the Giant, just like in the original cartoon, is lifting the roof to peek inside.
Epcot
Germany Pavilion
According to a 1982 Walt Disney World publicity release:
Although it was always certain that it would be included in World Showcase, Germany was chosen for Phase One for two important reasons.
First, the Oktoberfest theme provided the perfect context for a large food facility, something vital to World Showcase. Second, Epcot Center planners knew they could count on enthusiastic German manufacturers and exporters to help get it off the ground.
The authentic look and feel in the platz (plaza) and biergarten is a tribute to the ingenuity and skill of Disney Imagineers who went to Bavaria in search of just the right architectural features to use in order to convey that Old World ambiance.
Rather than construct precise replicas of anything they saw over there, Epcot Center designers adapted German structures to fit the scale and serve the needs of World Showcase.
To create the imposing castle fortress façade at the back of the pavilion, the Imagineers combined parts of the Eltz Castle on the Mosel River and of the Stahleck Castle on the Rhine. The platz includes architecture from the 12th to the 17th centuries from a variety of regions.
The statue of St. George in the center square resembles the one on top of a fountain in the city of Rothenburg ob der Tauber. Disney’s doppelganger is made of fiberglass that was treated to resemble the stone of the original. The statue is on a fountain guarding the water because according to legend the dragon that the knight slew had made a nest in the city’s water supply.
The Glockenspiel clock tower was designed specifically for World Showcase although influenced by the designs of clock towers in Martinstor and Freiburg. Every hour, two figures of Hummel children appear to ring the bell. The melody that plays was composed just for the pavilion. A wooden rooster, flapping its wings, appears b
riefly over the top of the clock face to reference German cuckoo clocks.
The walls of the biergarten were inspired by the walls of Rothenburg, which were built during the 14th and 15th centuries. The Imagineers rearranged elements to create the interior space for a much larger facility than any actual German beer hall that ever existed.
Octoberfest celebrates the October 1810 marriage of Crown Prince Ludwig of Bavaria to Princess Therese. Today, that celebration continues for sixteen days from late September through early October.
The original interior design on the left-hand side of the pavilion was meant to guide WDW guests through a German house.
The Weinkeller with its racks, low ceilings, and tile floor resembles a basement. Next door, the journey continues into the kitchen with shelves and cabinet designs suggesting that location. The next doorway leads to the living room where Christmas is being celebrated. For many decades, the next shop was the Glas und Porzellan where Hummel figures were sold.
Since this is where the artist would work, it needed the best light so was in the attic, and Imagineers even went so far as to include floor boards that would squeak beneath the feet of the guests.
Phase Two was to include, according to the press release, two more additions:
[In the] German Rivers ride-through, guests will learn about German history and culture as they cruise down a course which simulates Germany’s most picturesque rivers and takes them past castles, industrial centers, and recreational sites.
With medieval relics, an impressive show, and travel agents ready to make all the arrangements, the tourism center will entice our guests to visit the real Germany.
